sun 27/05/2018

alexandra coghlan

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Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile

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Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hot

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An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture

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Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

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Rinaldo, The English Concert, Barbican review - Bicket's band steals the spotlight

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Dead Man Walking, Barbican review - timely and devastating meditation on human violence and forgiveness

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Kaufmann, Damrau, Deutsch, Barbican review - bliss, if only you closed your eyes

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Jansen/Maisky/Argerich Trio, Barbican review - three classical titans give chamber music masterclass

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Orlando, La Nuova Musica, SJSS review - Handel painted in primary colours

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Louise Alder, James Baillieu, Wigmore Hall review - sensual heat thaws a winter's evening

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I, Object review - this operatic double-bill delivers just a single hit

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The Secret Theatre, Sam Wanamaker Playhouse review - a ferocious topical satire dressed up in period costume

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LSO, Alsop, Barbican review - Bernstein 100 opens not with celebrations but existential angst

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Orpheus Caledonius, Brighton Early Music Festival review - a thrilling meeting of musical clans

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Written On Skin, Melos Sinfonia, LSO St Luke's review - an ambitious musical achievement

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Hansel and Gretel, Pop-Up Opera review - salty-sweet production takes wry pleasure in classic fairytale

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Sophie Mackintosh: The Water Cure review - on the discipline...

A body can be pushed to the brink, to the point where thoughts flatten to a line of light, and come back from death, but the heart is complex and...

Reissue CDs Weekly: Nirvana

In William S, Burroughs’ The Naked Lunch, a simopath was “a citizen convinced he is an ape or other simian. It is a disorder peculiar to...

Solo: A Star Wars Story review - timid and torpid

This is franchise film-making at its worst. A Han Solo: Year Zero origin yarn makes some sense, after...

Peter Pan, Regent's Park Open Air Theatre review - ense...

This exuberant production both clarifies and further complicates the conundrum of Peter Pan. In any production true to...

Hip Hop Evolution, Sky Arts review - foundations of a revolu...

Comprehensively charting hip hop’s rise from the underground...

CD: Oneohtrix Point Never - Age Of

Everything on this record changes shape. One moment in “RayCats” Far Eastern instrumentation is being glitched beyond recognition, then suddenly...

The Grönholm Method, Menier Chocolate Factory - sleek and sh...

Add Catalan writer Jordi Galcerán to the shortlist of...

Malcolm Middleton, Brighton Festival review - mordant brilli...

Before starting this review a decision was taken: that the over-used description of...